ALL THAT IS SOLID: A CELLULOID EXPLORATION OF BRUTALIST ARCHITECTURE EVA KOLCZE A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO MAY, 2014 © Eva Kolcze, 2014 Abstract All That Is Solid is an experimental film that investigates Brutalist architecture through the decayed surface of black and white celluloid. The film features three locations: Robarts Library, The University of Toronto Scarborough campus (UTSC) and the Ross building at York University. All are prominent examples of Brutalist architecture on university campuses. Footage of the buildings has been degraded using photochemical processes that result in unique patterns of decay. The decay processes are used to draw material and aesthetic connections between concrete and celluloid. By distressing and dissolving images of massive buildings, the film explores how time breaks down all materials, even solid concrete. The film also explores the shifting reactions and responses to the buildings, from their initial praise by the architectural community as cutting edge and futuristic, to the intense public backlash that followed shortly after they were built. ii TABLE OF CONTENTS Abstract .................................................................................................................. ii Table of Contents……………………………………………………………………….iii Evolution Of The Project ........................................................................................ 1 Artistic Process – Visuals....................................................................................... 3 Artistic Process – Sound ........................................................................................ 6 Related Films and Artisanal Practices ................................................................... 8 Concrete and Celluloid ...................................................................................... 12 History Of Brutalism ............................................................................................. 14 Brutalism and The Modernist Spirit ...................................................................... 16 All That Is Solid and The City Symphony Film ..................................................... 20 Brutalism On Film ................................................................................................ 21 Conclusion ........................................................................................................... 23 Works Cited ......................................................................................................... 24 Bibliography ......................................................................................................... 26 Filmography ......................................................................................................... 28 iii Evolution of the Project All That Is Solid has undergone a number of major changes in the past year. Initially the project integrated documentary, experimental and dramatic elements, including decayed film, archival imagery and performance art. After conducting tests with an actress, gathering archival material and creating mini versions of the project, it became difficult to find connections between all of these potential sections. Many of these sections could have evolved into stand-alone works and trying to reconcile them proved impossible. The central component of All That Is Solid is super 16mm black and white footage of the three Brutalist buildings and their slow transition into decay. After careful consideration over the summer, I decided to scale back the project and only work with these visual elements and a soundtrack. I was interested in conveying the conceptual underpinnings of the project through various decay techniques and sound effects. By relying heavily on visual elements, All That Is Solid evolved into a structuralist / materialist film. By working with decayed imagery, the material properties of the filmstrip were now a major subject of the film. This type of filmmaking flourished in North America the 1960s and 70s, at the same time these buildings were opened, forming an interesting connection between the film’s style and content. 1 By working with decayed imagery the film suggests how the buildings have evolved over time, from the optimistic visions of architects and school administrators to the public backlash that occurred shortly after they were built. At each location, long tracking shots slowly reveal the scale of these monolithic edifices. These shots explore multiple angles and features of the buildings to convey how their architects might have imagined them. As the camera tracks along the buildings, they begin to decay. Footage from each location was subject to a different decay technique, causing the image to degrade in three different ways. These decay techniques and the soundtrack reflect the shifting reactions to the buildings over time as well as the material connections between concrete and celluloid. Sound was also a way for me to work with these ideas of flux and change. In earlier versions of the film, the soundtrack consisted primarily of musical elements, but after receiving feedback from my committee, I removed some of the drone sections and added audio recordings taken from each location. Audio recordings of students talking and walking along the pathways between the buildings were featured at various points throughout the film. These recordings can be heard at the beginning of the film, during shots of black emulsion clouds that flicker across the screen. This image and sound pairing sets the tone for later parts of the film, where empty architectural spaces are played 2 against the sounds of campus life. While the audio elements and film’s sound design will be discussed in greater detail in a later section of the paper, both field recordings and musical sections comprise the final soundtrack. Artistic Process – Visuals The film was processed at Colorlab. One workprint was struck for decaying purposes. This print was spliced onto three separate reels, one for each location. Each reel was decayed using a different process. Robarts Library was decayed using the mordancage technique, York University was boiled and reticulated, and UTSC was soaked in bleach. Both the negative and decayed prints were scanned frame-by-frame in high definition using a 2K raw data film scanner, producing a digital copy of the footage for editing purposes. This allowed me to have both pristine and decayed digital copies of the footage to work with. By decaying the film I wanted to create the sense that these massive concrete buildings were melting and dissolving. I chose techniques that would dramatically erode the film’s emulsion and act on the structure of the image. The decay breaks down the heavy angular forms of the buildings, making them appear to shift, fall apart and disappear. 3 Over the past year I conducted extensive research and experimented with a number of film decay techniques and processes. These included burying strips of film in wet soil; soaking them in household bleach; and using substances such as salt, olive oil and spray varnish as resists. While these techniques yielded a number of interesting patterns and textures, they only acted on the image in random sections and spots, without effectively dissolving the emulsion. The three final techniques that I chose to work with were mordancage, reticulation, and soaking the film in a bath of diluted reversal bleach. Each of these techniques gives unique results. They create dramatic effects in the overall image by breaking down the structure of the film’s emulsion and as a result, the buildings appear to transform into patterns, textures, and shapes. I was introduced to the mordancage and reticulation techniques at a workshop taught by Kevin Rice at the Liaison of Independent Filmmakers of Toronto (LIFT). Kevin works with Process Reversal, a small artist film lab and collective in Boulder, Colorado. The mordancage technique involves creating a type of photochemical bleach that loosens film’s emulsion in layers, starting with the darkest areas that have the highest silver density. The resulting imagery has textures that range from bubbles to fabric blowing in the wind. In order to keep the bubbling or fabric-like patterns intact, the filmstrips must be handled very carefully as the emulsion is incredibly soft and can be easily stripped away. This technique was applied to the footage of Robarts Library. The mordancage effect 4 transforms the sharp edges of the triangular-shaped building into flowing, flickering lines, making its rough concrete surfaces appear to blister and peel away. The reticulation process involves boiling film in water to break down the emulsion. Once the emulsion is very soft and pliable, the filmstrip is placed in a stop bath of ice water to halt the effects of the boiling, re-solidifying the emulsion. It is during this re-solidification that patterns form within the emulsion. For this project I boiled filmstrips continuously for at least 30 minutes until the emulsion began to soften. After experimenting with the reticulation technique a number of times I realized that the stop bath wasn’t effective and instead started freezing the film. I took filmstrips out of the boiling water, put them into plastic bags and froze them for 10 to 15 minutes. As a result, dramatic frost-like patterns were etched